George D. Stănciulescu is a Romanian electronic and experimental music producer, composer / sound designer and PhD in Philosophy of Digital Music & New Media. In 2005, he founded the neo-classical ambient / avant-garde ensemble Ad Ombra, which consequently released a CD trilogy: Rites of Genesis (2008), Magna Charta Illusorum (2009) and Almost Eternity (2011). In 2009, Stănciulescu started to focus on the more electro-dance oriented sonic dimensions by creating the eclectic electronica music project LeVant, which had its debut CD, Beyond the Masque of Eden (2010). The second album, Knock, Knock, Ginger (digital) came in 2014, revealing an eclectic paradigm that comprises indie electro, trip-hop, contemporary music and art-pop altogether. Since its inception, LeVant has performed acclaimed multimedia shows both as a band and as a DJ at various national & international festivals and venues, with a plethora of featured vocalists and guest artists, ranging from theater and film, choreography, visual arts and so on. LeVant’s releases have been featured in the international underground press, in a number of online publications, radio shows and samplers worldwide.
According to LeVant, “UnFinetude” is a rather special work and probably the most radical and genre-bending amongst the ones he made so far so far. As a sort of “raison d’etre” for its genesis, came from the subconscious challenge he got from various persons asking him what is that? So he thought of creating a digimodern work and this slowly shaped in, thanks to some hours of expanding fantasy, unrelenting encounters with the realm of Illusion and a handful of plugins."
Escuri has been actively producing and performing experimental music in the Philippines. He released several EP which include Parallel Worlds (2013), a compilation of avant-garde analog sound works which took inspiration from the literary works of Haruki Murakami and Kobo Abe; Coloring Book (2015), a collection of purely digital audio works; and ORBIT21 (2016), a collaborative sound work with music producers from California, UK, Texas, Netherlands and London.
His musical works has been featured in local radio stations and publication. His current musical project involves performing electronic music in various settings (public, semi-public and private spaces) in an attempt to explore how these physical spaces contribute to and/or affect sound and performance. In addition, the project also explores how synthetic sounds interact with natural sounds and how this interaction affect the binaural perception of the listeners . Other on-going projects include field recordings with visual artists .
He is part of Pixel Collective, a local group of emerging digital/electronic/analog/lo-fi musicians; and Buwan Buwan Collective, a record label dedicated to unearthing substantial electronic art forms.
A collaboration Purveyr and adidas Originals.
Around August 2016, they roamed around the streets of Escolta, Philippines and did a soundwalk.
This opportunity paved way in exploring field recordings. In the process, they recorded ambient sounds and collaborated with the locals by asking them to do rhythmic beats using familiar objects (coins, hammer, basketball and even coffee machine!)
Like photography, music also has the power to capture a moment, make it eternal and deliver euphoria and nostalgic memories.
On Saturday, May 20, multi-instrumentalist and lauded bass player Erik Kramer released his debut studio endeavor, an EP entitled ‘Missed the Boat.’ The Brooklyn-based musician has an especially eclectic sound, one that employs the talent of a slew of musicians: saxophone, trombone, viola, trumpet, back-up vocalists - they’re all there. An experimental record through and through, ‘Missed the Boat’ is an indie record quite unlike anything else that’s come across my desk in recent months.
The Great Long Distance is an audible recollection of the first 12 months of a long distance relationship, including the highs and lows and moments in between. It is a journal without words, each of the 12 tracks representing each month respectively. Inspired by the format of NIN's "Ghosts I-IV", the album is a sonic tapestry of different moods and themes, with various recurring motifs and the subtle melding of synthesizer and samples; the result something not quite classical, ambient or electronic - rather, an eclectic blend of the three. For fans of Ólafur Arnalds, Nils Frahm and later Ulver